THE UNCONSCIOUS' EFFECT OF THE FANTASTIC IN HAMLET

BOLOTIN Sylvia Beatriz

¨The fantastic supernatural or insolite, abnormal or monstrous, makes suspects the existence of a hidden order¨.

Bella Jozef _

With Hamlet and Julius Caesar (1599-60), the playwrigth that precedes it, we are entering to the period knowed as "black" in the greats tragedies. Its not only a denegation whose unchaste of cruelty realities, if not that characters gives the impression of being adapted in a negative, without resorts face to the astonishment of an inssuportable apparition.

Hamlet was written in 1601, or 1602, by William Shakespeare after his father's death, and Romeo and Juliet (1595-96) comes like a symphony of deuil perennial about passionate loves to his son Hamnet who died in 1596. Coming out conjectures in my imaginary of reader, I perceived to a Hamlet, as phenomenon of resonance to the son’s disappearance of the one father. But as antithesis, there is a jonction with Romeo and Juliet, where Hamnet seems to receive an immortal homage inside a nostalgic parfum coming for William’s separation with Anne Hathaway. We check that, among the structure of language in Hamlet, some representations of criminals passions appear, where it's necessary to know the origin of the burial in the symbolism with egard to the concept of fantastic through the characters of Gertrude, or The Ghost, or Horatio, friend of Hamlet, Anne.... Or that concept is exterorized by a tired man for the failure and furor exclusively from the tragic turbulence taken to the extreme power with the prince. We can articulate with Lacan when he says that "the dimension of fantastic appears when something of the imaginary comes from the fantasy that communicates something, that it usually arrives normaly at the level of the message of others one, as long as it is the same Ego" (1). So, the Ego of the author will be a space of identifications, where phenomenons of epiphanys are situated, that come into sight from the formalization of the law unconscius of the poetic.

In another way, Hamlet is the paradigm of the treaty of misfortune, conflicts, which it lies in the soul, that envelopes it, and pervertes it, becoming blindless the reason. And these conditions will be paradoxically the exit of heroes to be free of their torments. But there it contrasts with the play The Tempest and The Winter's Tales (1610-11), where the characters although they are called to the horror, nevertheless they move towards the pardon of the offenses. And so Shakespeare evidences the brillancy, the transcendency in an imaginary world where he explores the background of minds like it would be his last will lyric.

Hamlet begins with his father's dead, and showing up a misty atmosphere invaded by queries, intrigues and effects speculatives to the function of object "a" in a play of mirrors. The Ghost, in act I, scenary V, says: "I am thy father's spirit, Doomed for a certain term to walk the night, And for the day confined to fast in fires, Till the foul crimes done un my days of nature. Are burnt and purged away. But that I am forbid. To tell the secrets of my prison-house, I could a tale unfold whose lightest word" (2). Here we approch to the sign of loves referred to a dangerous father where we intent to discover some light in the hidden dark enigma, similary to the work of interpretation of dreams. And the day is made in the paternal metaphor, as expression of real knowledge among a tension in the explainer, when the undergrownd of the crime is known. Although a distension luck it comes, when the Ghost admits to Hamlet: "The serpent that did sting thy father's life. Now wears his crown" (3), announcing him that it was poured the poison called hebona in the hearing, with that characteristic in Shakespeare of to make a confession without confession."He plays here through consonances malecious with the term that increases the fantastic to the horror inside a situation" (4). And this fragment offers us a key position in the theater piece that it distinguishes between "Oedipus who wishes and he kills to his father himself. Hamlet wishes but it is another one that makes the crime. The murder means for the subject of the unconscious, a compact enjoing coming from his wish parricide" (5).

On the other hand, William Shakespeare manipulates images; the doubles images make of calambour with a double signification like in The Ghost. There it acquires a potency imprisoned in significances of the unconscius formations that drives to significances from ambition's nightmares at acte II, scene 2; and brightness emerges to a real precision, going and coming from the picturesque until a sensuality incredible. And it corresponds to underline Pascal that remember us to the idea that to simulate madness, it would be the moderns hero’s politics, and it is close to madness feint of Hamlet, for to achive his purpose, and there we find a bridge between comedy and tragedy into a drama. Shakespeare then jumps above the sensual, absorbed it like in the beautiful scene of the pantomime, untill he arrives near the message's scene of sens that revels Claudius’crime, but once again unsuccessfull. At each moment he must represent his act, Hamlet represents it later in his well known To Be or not To Be under the effect specule-speculative going into an impossible action. Here, we are face at the effect specule of the object "a", that is also perceived when the poisoner seduces Queen Gertrude, taking place a metamorphosis with the truth. And there are adittions of metaphors-ideas that attack the reader everywhere, exhaling the poet’s wisdom, breaking the naturaly cadence of the prose, and for that way it acquires a melodious direction. With a Hamlet who subdues the body of the father of Ofelia. There is a captive Hamlet who is introduced among daoubts feeded of repudiates succesifs to the love, the friendship, and to the properly honour, and a hero discouragent. appears. It is not by hazard that he is considered as the tormented's man prototype, almost unable of an impossibility of a grimace that would produce a liberty of the degradation in the world where he drowns.

And we end in Ophelia. One of the most sublime creations delivery to the romanticism, also caugth by madness as if she didn't understand for what of the death of Polonius, and she only perceived him in a picture nebolous. But her ambigous suicide puts in relief the dramatist in all his magnificence. And now the tragedy begins there. Then, Laertes exploses in act. V, sce. I, while says: "O, treble woe. Fall ten times treble on that cursèd head. Whose wicked deed thy most ingenious sense. Deprived thee of! Hold off the earth awhile, Till I have caught her once more in mine arms". And some sentences later, we heard in echo: "This is I, Hamlet the Dane"(6). He manifested for the first time his wish of love. The unconscious truth naked the intrigue; Claudius died. Hamlet request to Horatio that takes the encouragement for to count this tragedy to the whole universe; he falls down. The poet gave us an accumulative sense face to the fright of an insuportable apparition. And beyond the pleasure in the midle of interdicitons coming from fraticides, adulteries, greeds, the fantastic breaks out. Explored the unknown enunciations repressed in a king literary man.

_ Jozef, Bella. Entre la Metafísica y el Tango, Suplement Literary's Journal Nación, 6 de agosto, 2000, Buenos Aires.

(1) pag, 89, Lacan, Jacques. Hamlet, Tragédie du Désir, 1959, Séminaire Inédit, Paris.

(2) pag, 114, Shakespeare, William. Hamlet, Traduit de l'anglais par François Maguin, Edition Bilingue Flammarion, 1995, Paris.

(3) pag, 116, Ibid 2.

(4) pag, 442, Ibid, 2.

(5) pag, 102, Nasio, Juan David. Les Yeux de Laure, Edition Aubier, 1987, Paris.

(6) pag, 376, Ibid, 2.

_vol, 14, Encyclopaedia Universalis France, 1983, Paris.

_ Derrida, Jacques. Espectros de Marx, Editorial Trotta, 1995, Madrid.

_ Kristeva, Julia. Histoires D'Amour, Edition Denoël, 1983, Paris.

_ Julien, Philippe. Seminario Inédito, Fragmento sobre Hamlet, 1990, Montevideo.

_ Dor, Joël. Introduction à la Lecture de Lacan, Edition Denoël,1992, Paris..